"Clare was saying she would really like to incorporate the color violet in the makeup," says makeup artist Diane Kendal, who obliged with a sheer wash of the shade over the lids. This being Chloé, the hue used was subdued—nearly pastel—and paired with a hint of soft pink on the cheeks.

Kendal kept models' complexions fresh and clean, using foundation and concealer to even out skin tone and applying powder along the T-zone. She dusted M.A.C. Sheertone Blush in Tenderling, a light peachy pink, on just the apples of the cheeks, then patted concealer on lips and topped it with balm.

The eyes, though quite delicate-looking, were more complicated. First, Kendal swept a deep gray-lavender cream shadow on the lids, then topped it with a shimmery lilac shade (M.A.C. Eye Shadow in Beautiful Iris). Along the creases, outer corners, and lower lashes, she applied a mushroom-colored cream shadow: "It creates a smoky effect, and it's extended out so it's like a cat eye, but again, just very, very soft," says Kendal. She defined the inner rims with a shimmery pale blue pencil and finished by curling the lashes—no mascara necessary.

Pecis washed the models' hair with shampoo and added a bit of conditioner to the ends if needed. "We want the hair to look as fluffy as possible," he says. He spritzed in a volumizer, parted the hair deeply on the side (just over the center of the right eye), and roughly blew it dry. Some models received extensions, so everyone's length was different.

Once the hair was dry, Pecis misted a dry texturizer (L'Oréal Professionel Next Day Hair) all over, and to give strands a little bend, twisted sections into loose knots and pinned them down. "We have to do it in a way that looks like it hasn't been done," Pecis says. "If someone looks like they've put too much effort in, it's almost not cool." Before the show, the knots were undone, and hair was left with effortless, barely-there waves.